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 Noise appreciation thread 
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Joined: July 4th, 2007, 10:45 pm
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That's it... it's a nice quote. Noise is going back to the primal and fundamental expressions of sound. Noise was the first music and it will be the last one. I often try very hard to "imagine" what could be deeper into sound than noise. Hopefully our children will surprise us!


January 15th, 2010, 6:11 pm
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Hopefully. 'Cause I wouldn't want my children to listen to them MACRONYMPHA pervs! Haha!

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January 16th, 2010, 12:16 pm
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Oliver Side wrote:
Martinis and Laptops by Otto Von Schirach.

awesome!


January 25th, 2010, 5:28 am
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Fuck, I can't watch youtube at work. I'll check it out sooner or later. ;)

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January 25th, 2010, 11:04 am
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Do you guys have favorite Merzbow albums and why?

So far, 1930 is my favorite, it introduced me to the genre and I'm eager to communicate with someone whose opinions have matured, fermented, I'd say this is the Merzbow guide for Chavdar: http://www.musiquemachine.com/search/search.php


March 8th, 2010, 7:57 pm
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the album I've paid most attention to is "Pulsedemon". heavy stuff. I am still ashamed how little MERZBOW (and other japanese noise in general - Masonna, Incapacitants, et c) I have listened to. I have an album with him though, can't remember its name but it's good.

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March 9th, 2010, 11:17 am
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thanks for the Pulse Demon recommendation, I enjoyed the first track, the second is promising, I'll say nothing more than I have hope for this album. to correct myself : today I saw Merzbow - Anicca for sale, but on listening at home I didn't find it appealing; also Merzbow · Sutcliffe Jügend · Satori (2) - Split. http://www.klicktrack.com/coldspring/re ... ri/split/1

http://www.myspace.com/satoriofficial


March 9th, 2010, 6:06 pm
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some of ye olde WHITEHOUSE:
http://www.youtube.com/watch?v=bRbWvLKWS1k
I wonder if this is what inspired Chris Reiffert in baptising the last Autopsy album?

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March 30th, 2010, 5:13 pm
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YRSEL. ROBEDOOR. 2:13PM. BASTION. SWARMS.
Ach, never thought I"d get into it, but now it's been a year since I've been swinging to noisescapes.

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March 30th, 2010, 6:04 pm
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Ah, Robedoor! Hippies... :)

Another great thing about noise/related genres - of those five bands you mention, I've only heard of two, and only listened to one of them. The proliferation of musicians is so vast it's both inspiring and frightening - there's absolutely no possibility to hear everything.
I mean, it would be near impossible to even keep track of the projects from RICHARD RAMIREZ (http://www.discogs.com/artist/Richard+Ramirez). Look at that list. Browse his personal releases, and those of his projects. It's... extreme. I even think it eclipses Merzbow's 300 albums in 30 years since Ramirez has only been at it for 20. I have... one cassette from Werewolf Jerusalem + a split with Ramirez. Complete WALL. I think that does it for me.

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March 30th, 2010, 6:13 pm
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Oh, I'm more about quality than quantity to be honest... and if both are present, I still prefer quality in low numbers... Saves some space in my flat, hehe.

YRSEL is a collaboration between THE AUSTRASIAN GOAT and ONDO, great towering ambience, granular feedback and harmonies.
2:13pm is THE AUSTRASIAN GOAT again, but much more harsh, with some drums, and very, very intense.
You know BASTION?

See the C.V.E. thread for details and samples.

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March 30th, 2010, 6:38 pm
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Definitely, the tendency to churn out tape after tape in limited runs is just boring. But still, only to gather one or two of the best releases from every act of musical quality would prove a daunting task!

I will look into your recommendations!

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March 30th, 2010, 6:47 pm
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Check also Josef Nadek - to infect and persist Vol.1

free for dl

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March 30th, 2010, 6:50 pm
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If anyone doesn't really understand the deal about noise & want a book to explain it, or just want to read what a scholar has to say (looking at you, Olivier)... read this:

http://www.amazon.com/Noise-Music-Histo ... 0826417272

Quote:
Can silence be "noisy"? Why do punk bands downplay their musical abilities? What do 37 minutes of ceaseless feedback and squawking birds tell us about the human experience? Calling upon the work of noted cultural critics like Jean Baudrillard, Georges Bataille and Theodor Adorno, philosophy and visual culture professor Hegarty delves into these questions while tracing the history of "noise" (defined at different times as "intrusive, unwanted," "lacking skill, not being appropriate" and "a threatening emptiness") from the beginnings of 18th century concert hall music through avant-garde movements like musique concrete and free jazz to Japanese noise rocker Merzbow. Ironically, it is John Cage's notorious 4'33", in which an audience sits through four and a half minutes of "silence," that represents the beginning of noise music proper for Hegarty; the "music," made up entirely of incidental theater sounds (audience members coughing, the A/C's hum), represents perfectly the tension between the "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music, from Satie to punk. Hegarty does an admirable job unpacking diverse genres of music, and his descriptions of the more bizarre pieces can be great fun to read ("clatters and reverbed chickeny sounds... come in over low throbs"). Though his style tends toward the academic (the "dialectic of Enlightenment" and Heidegger appear frequently), Hegarty's wit and knowledge make this an engaging read.


"Insiders" in the contemporary noise/industrial "scene" refrain from the book (you never want your pet musics labelled and explained by some dry academic writing for other academics/smart people on the outside), but I think it is a good and entertaining read, though a bit heavy on the theoretical side (brain exercise!).

What mentioned insiders say:

Excerpts exemplifying the style & tone of the book:

Quote:
This means [technology] is part of our being, being as part of, or as counterpart to, the world. The modern world has literalized this, and limited it to tools we use for work in the world. As a result, we imagine that beings, tools and the world all occupy distinct places (or are discrete categories) and we lose contact with a more authentic way of being. As technology in the usual, limited sense is so central to noise (as it is to music), this insight about technology can at least provide us with a way of refusing obsessions with machine technology in its own right. For the moment, though, the significance of Heidegger's idea is that there can be no separation of technology from other human activities. (Hegarty, 2007:23 )

...

Given Merzbow's view of the arbitrariness of his titles, we might be advised not to read too much into sound content as musical content (i.e. meaning). Like Jackson Pollock, we should, I think, take it that what is content is shifted - in Pollock's case to the expression of his subjectivity in chaotic paint pattering. This would be hard to do in Merzbow's case, but in both examples, we can take the 'formless' forms as their own content, form and content caught in recursive relation, and continually crossing one another. And yet, you cannot ignore that a Pollock picture is entitled Galaxy, or that a Merzbow album is named after a specific elephant seal (Minazo). (ibid, 161)

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August 18th, 2010, 8:27 pm
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Hey, check out this one: http://interlard.bandcamp.com/

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September 7th, 2010, 9:55 pm
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